2021, Vol.78, No.4

Artistic Creativity and Rationality: the Conditions of Artistic Creativity

Suyeong Lim | 2021, 78(4) | pp.15~59 | number of Cited : 3

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Creativity and Value: from Product to Virtue

Lee, Haewan | 2021, 78(4) | pp.61~92 | number of Cited : 1

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Artificial Intelligence and Literary Creativity

Yoon, Juhan | 2021, 78(4) | pp.93~125 | number of Cited : 1

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Analysis of the Argument Structure of Tao Te Ching: Focusing on Williams & Colomb’s Model

Lee JongSang , Dong-A Lee | 2021, 78(4) | pp.129~164 | number of Cited : 0

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Lao-tzu’s core philosophy has been known as the rule of the king since the first generation of scholars. Later, by several scholars recognized that Tao Te Ching was a text for rulers; the readers of Tao Te Ching were the rulers, and the Tao Te Ching was said to have been written to persuade the ruler. If the purpose of writing Tao Te Ching is to persuade the ruler, it can be inferred that it would have been based on a grounded claim, that is, an argument. Therefore, Lao-tzu’s writing is not simply a sequence, but it can be proposed that all chapters have a certain argumentation system. In this article, Tao Te Ching was viewed as writing for persuasion, that is, argument accompanied by evidence, and the way in which Tao Te Ching was constructed was examined through the analysis of the structure of argument. The structure of the argument used at this time adopted the Williams & Colomb model. Among 81 chapters of Tao Te Ching, there are 9 chapters that contain all four elements, such as evidence-reason-claim-warrant, and when considering the order of arrangement of elements, there are three types. There are 49 chapters composed of three components, such as reason-claimwarrant, and there are 8 types when considering the order of arrangement of components. There are 16 chapters composed of evidence-reason-claim, and there are 5 when considering the order of arrangement of components. In addition, there are two chapters representing two reasons and arguments for one warrant, and one chapter representing two reasons and arguments for each reason. There is one chapter with one claim for three evidences and three reasons, and seven for the other five types. In examining the argument structures considered to be the most widely used in Tao Te Ching, five chapters for each type were examined, and through the analysis of the argument structure, it was possible to more clearly interpret the problem compared to the previous interpretation. In addition, the interpretation of Tao Te Ching by argumentation and analysis results using existing analysis methods such as argumentation method and rhetoric method were compared for Chapters 13, in which both were commonly present. As a result, the analysis frame of the argument structure adopted in this article is more effective for understanding Tao Te Ching, compared to other analytical frames.

Filial Piety and Filial Behavior: A Hermeneutic Review

Park Kyoon-Seop | 2021, 78(4) | pp.165~207 | number of Cited : 1

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Historical Review of Rrelationship of Anti-Intellectualism and Korean Women’s Literature

Lee, Kyungha | 2021, 78(4) | pp.209~235 | number of Cited : 2

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The Subversiveness and Conceptualization of ‘Gaebyeok’ in the Modern Transition Period: Focusing on Donghak and Cheondogyo

HurSoo | 2021, 78(4) | pp.237~272 | number of Cited : 3

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I have systematically organized the usage of ‘gaebyeok’ used in Donghak and Chondogyo in the early 19th and early 20th centuries. The traditional meaning of ‘gaebyeok’ in East Asia was ‘opening the world’. In the middle of the 19th century, Choi Je-woo, a founder of Donghak, proposed ‘Dashi (New) Gaebyeok’, which has the meaning of ‘the world is turned upside down’, an innovation of the traditional meaning. However, this usage was not widely used due to its subversiveness. The discussion on the succession of ‘Dashi Gaebyeok’ appeared centered on the Chondo denomination in the 1910s. ‘Hucheon (Later Day’s) Gaebyeok’ succeeded ‘Dashi Gaebyeok’, but its meaning was expanded to include the Hsiang-shu-hsueh (象數學)-thinking of ‘Seoncheon-Hucheon (Former-Later)’. But the discussion of this period was limited to the religious denomination level. On the other hand, in the 1920s, ‘Gaebyeok’ was widely known in society, given various meanings, and discussed in the theory of gradual development. This trend could be called ‘conceptualization’, but such ‘conceptualization’ was limited in scope. The limited conceptualization of ‘Gaebyeok’ can be seen as a rejection of modern signification. This was the case of emphasizing the subversiveness of “Geomgyeol” or relativizing the theory of social evolution and the unilinear development theory. Of course, ‘Gaebyeok’ did not become a competitor to ‘history’ or ‘revolution’. Nevertheless, it is noteworthy that Chondogyo figures insisted on using ‘Gaebyeok’. At first glance, this attitude may appear to be an intermittent case in the trend of progressive time perception. However, this is a starting point for revealing the fact that the ‘Hucheon Gaebyeok’ has spread and continued to many Koreans, including new religions.

Can Mono Become Artistic?: Mono-ha Seen Through Jean-Marie Schaeffer’s Theory of Aesthetic Experience

Jimin Son | 2021, 78(4) | pp.273~313 | number of Cited : 0

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A Study on Woo Gwanghun’s Short Story “Self-Restraint and Propriety Restoration”: Back to Humanitarianism

Jin, Hong Yue , Lee， Won-yang | 2021, 78(4) | pp.315~338 | number of Cited : 0

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From his debut novel “Lonely Tomb”, written in 1979 at the age of 25, to the first collection of short stories “The Death of Mary” in 1989, Woo Gwanghun’s early works demonstrate a certain tendency. It is the opposite structure of “purity” / “impurity” or “nature” / “socialization(political)”. Since the reform and opening-up of China and the establishment of diplomatic relations between South Korea and China, Woo Gwanghun’s works have shown significant changes in both themes and literary techniques, and there is no strong “purity” / “impurity” opposition structure. After such creative work activities, in 2015, he released Self-restraint and Propriety Restoration. This novel, like hazy homesickness, featured the tendencies of his earlier works and dug into it more specifically and delicately Behind the apparent narrative of Self-restraint and Propriety Restoration, an increase in the oppression given to Geuk Seongi or the increasing anger of Geuk Seongi exists. Many occasional expressed emotions of Geuk Seongi represent all manifestations of the core that cannot be hidden. And the narrative of this expression gradually gathers anger, eventually exposing the heart of anger. In the scene throwing the portrait of Chairman Mao, Geuk Seongi is angry at the realities surrounding thoughts and concepts. More than that, in a callous society where the memory of frail people got eradicated, the novel still hopes to keep and advocate ‘memory-respect humanitarianism’. Self-restraint and Propriety Restoration does not concern instantly noticeable loss, but radical deprivation causes deprivation. It demands respect for human beings at the fundamental level. Therefore, compared with his prior works, humanitarianism is more deeply manifested in Self-restraint and Propriety Restoration. Through the description of affectionate things, the colloquial expressions, and the recalling frame, the novel Self-restraint and Propriety Restoration advocates that ‘purity’ is placed in ‘the hometown of human nature’. To the interlocutors, ‘hometown’ is the ‘inherent hometown of human beings’ and the place where the nostalgia of purity evokes. By indicating the specific residence of ‘purity’, the novel has revealed a deeper layer of ‘purity’ than before as well as exposed ‘restoration-to-purity humanitarianism’.

How Could <Miss Trot> and <Mr. Trot> Become Koreans’ Most Favorite TV Programs?

Hye-yoon Chung | 2021, 78(4) | pp.339~374 | number of Cited : 3